One of Gorham's earliest patterns, dating from the 1860s, "Rosette" takes its name from the design element situated in the center of the handle. It also has an anthemion with scrolled supports located at the end of the lined-border handle, placing it clearly in the Greek Revival style.

Elegant in its simplicity, the pattern shows spectacularly so at the scale of this 12 1/2" long, heavy at 6.2 T. oz., soup ladle.

The bowl is large, 3 3/4" across and 1 1/2" deep. It has a central vee in ...

These two items, stamped "4101" on the bottoms, are the hollowware side of Kirk's "Calvert" and "Old Maryland Plain" flatware patterns.

According to the identifications offered in the "Encylopedia of American Silver Manufacturers," the style of the "S. Kirk & Son" mark, along with the word "Sterling," was used 1925-32, indicating these have considerable age.

The footed, open salt stands 1 13/16" tall on a base that is 1 3/4" in diameter, and has a top opening that measures 2 5/8" across....

Each of these two, flat handle, solid silver, tea or dessert knives measures 7 1/4" long, with the pair weighing just under 2.6 T. oz.

Made of coin silver and dating from about 1860, they are marked on the blades with a "bust" and "JS & Co" for Joseph Seymour of Syracuse, New York.

These are a matched pair in all aspects, except for the inscriptions on them. One is engraved "Marion." in Old English lettering, while the other reads "Daniel" in script on one side, and "F.D.G." in a fancy ...

An early Gorham pattern dating from 1870, "Lily" is often referred to as "88" because that number frequently appears on the backside of pieces.

The design actually portrays a lily of the valley, with strong Greek Revival elements. The raised pattern is set on an anthemion-shaped, curved, leaf, and there are rosettes set either side of the flower cluster.

This example is simply marked with Gorham's "lion, anchor, G" emblem, "Sterling," "Pat. 1870," and the name of the retailer, Cincinnat...

A Providence, Rhode Island guild level retailer founded in the mid 19th century with principals related by marriage to the Gorham family, Tilden-Thurber Company was throughout its history a source of high quality silver offerings.

Such is represented in this 7" diameter, 1 1/8" high, very heavy at 11.4 T. oz., open bowl. It is stamped on the underside "Tilden-Thurber," "Sterling," and "943," and likely dates from early in the 20th century.

A size up from a sugar spoon, with an appreciably larger bowl, and a far less common piece, this jelly spoon measures 6 1/8" long and weighs a relatively heavy 1.4 T. oz. The nearly round bowl measures approximately 2" in diameter.

It is an early example of Whiting's "Lily," marked with the company's lion logo, "Sterling," and "Pat. App. For."

It is in very fine condition and without a monogram or removal of same. Showing only light polishing wear on the high spots, the design remains ...

One of Philadelphia's most prominent 19th century silversmiths, Peter L. Krider operated as sole manufacturer and in several partnerships over his career.

This mug is stamped with the "crossed K & B" symbol for the "Krider & Biddle" partnership, along with the model number "433."

There has been some difference of opinion about the exact dates of this pairing. The most recent, and likely most reliable, scholarship on Philadelphia silversmiths has been offered in a volume by Catherine Hol...

Arguably the most emblematic pattern in the Egyptian Revival movement of the time, Gorham's 1870 "Isis" also demonstrates in its complex construction the burgeoning capacities of American silver manufacturers from the mid 19th century onward.

"Isis" was a major figure in the pantheon of ancient Egyptian deities. She is represented in this pattern by a pair of outstretched wings with a curled snake between them, which is a motif drawn from ancient sources.

A 6" long, just under 1.0 T. oz., item, this ladle has a bowl that measures 2" in diameter and is 1/2" deep.

It is a cream or sauce ladle in Whiting's "Heraldic," which appropriately enough is dominated by the image of a medieval helmet set at the top of the handle. The remainder of the design incorporates a dense array of high relief, scrolling acanthus leaves.

The bowl is the less common of two that Whiting used in this line. It has a scalloped rim and raised, leafy detail on the inte...

Innovative and exceptionally imaginative, and born of the Aesthetic movement, Tiffany's "Lap-Over-Edge" is so diverse in its motifs as to appear to offer limitless portraiture in its acid etched versions.

This example, a 7 1/4", heavy at 2.0 T. oz., place aka regular, fork portrays what appear to be eggplants on the vine. The backside is monogrammed "JO'B."

There are two specifics about this that set it apart. William P. Hood in "Tiffany Silver Flatware" notes that there were four bowl...

Dating from early in the 20th century, Watson's "Orleans" is an acid etched design with a decidedly French sensibility to it.

It incorporates a central shield-like reserve on the upper front side and a corresponding open area on the backside. These areas are surrounded by tracery that is interspersed with numerous fleurs-de-lis, which are representative of the city which presumably inspired the pattern.

This example is a 6 1/8" long, just over 1.0 T. oz., sugar spoon. It has a generous...

One of the most recognized names among 19th century Baltimore silver workers, the elder Andrew Ellicott Warner is the "best known of a family of silversmiths," as stated in "Maryland Silver" published by the Baltimore Museum of Art.

Dating from the second quarter of the century, both of these master salt spoons are marked "A.E.W." One is 3 7/8" long and stamped "11" while the other measures 3 3/4" and stamped "10.15." Both these are standard marks particular to Baltimore and roughly equate...